Cory Hills

Cory Hills

Symphony

Slide Duration:

Table of Contents

Section 1: Introduction
Why Study Music History?

9m 19s

Intro
0:00
Music History/Appreciation
0:22
History is Important
0:34
Appreciation is Important
0:44
We are Listeners
1:32
Interesting Music Facts
3:26
Major Industries of the World
3:30
Arts and Entertainment is a Top 5 Industry for the World
4:14
Course Description
5:14
Track Music Throughout History and Relate It to the Present Day
5:28
We Will Cover Music From…
6:17
Lots of Musical Examples
6:25
Review and What's Next
7:37
Music is Everywhere
7:44
Course is Designed to Help Your Ears Make Connections
7:52
Parameters of Music: Building Blocks of Music
8:15
Melody, Harmony, Form, Texture

13m 16s

Intro
0:00
Parameters of Music
0:20
Parameters of Music is Subjective
0:24
Melody, Harmony, Form, and Texture
1:20
Melody
1:30
The Tune, the Singable Aspect of a Work
1:47
The Main Line
1:58
Usually Smooth Line
2:24
Example
2:45
Harmony
3:31
The Chords
3:36
Harmony Supports the Melody
3:46
Example
4:23
Form
5:11
The Overlooked Giant of Music
5:20
Form is the Structure and the Glue
5:37
Important Developments Throughout Music History
6:00
Example
6:57
Texture
8:26
How Much Stuff is Going on at Once
8:40
'Mono' = One Voice
8:45
'Poly' = More Than One Voice
8:56
Number of Instruments, Octaves, Instrument Doubling
9:30
Example
10:06
Review
10:50
Melody, Harmony, Form, Texture
10:54
Identifying Melody, Harmony, Texture, and Form with Example
11:10
Rhythm, Meter, Dynamics, Tone

11m 4s

Intro
0:00
Rhythm
0:19
Allows More Than One Person to Play at the Same Time
0:34
The Notes Tell You When to Play
0:45
Different Kinds of Notes
1:08
Developed Along With Music Notation
1:56
Notation Plays Important Role in Development of Western Music
2:07
Meter
2:44
Tied In With Rhythm
2:50
Time Signatures
2:54
The Larger Beats
3:20
Rhythmic Material Adds Up to the Numerator of the Time Signature
3:37
Example
3:52
Dynamics
5:12
How Loud or Soft You Play
5:20
Spectrum and Special Notation System
5:27
Can Change at Any Moment
5:53
Used to Affect Mood
6:27
Tone
7:20
Also Known as Timbre or Color of the Sound
7:35
Each Instrument has a Unique Sound
7:50
Important in Understanding Instrumentation and Orchestration
8:28
Review
9:06
Rhythm, Meter, Dynamics, Tone
9:12
Identifying Meter of Two Examples: 4/4 or 6/8?
9:25
Instrumentation & Orchestration

15m 53s

Intro
0:00
Why Discuss Instruments?
0:13
We've Assumed Things that Aren’t Actually True
0:30
We Can Use Our Ears to Determine History
1:00
Piano Was Invented in 1700
1:17
Modern Symphony Orchestra Was Described in 1844
1:49
Females Were Not Allowd to Sing in Mass Until 20th Century
2:18
The First Rock 'n' Roll Song Produced in 1953 - 'Rock Around the Clock'
3:17
Instruments
4:49
Middle Ages: Voice, Lute, Recorders
4:50
Renaissance: Violin, Guitar, Sackbut, Lyre, Hurdy Gurdy, More Flutes
5:19
Instruments Cont'd
6:29
Baroque: More Strings, Woodwinds (Oboe, Flute), Harpsichord, Organ, Horn
6:30
Classical: Fortepiano (Piano), Clarinet, Trombone, Bassoon
7:35
Romantic and 20th Century: Modern Day Instruments, Percussion
8:36
What is in a Symphony Orchestra?
9:24
Woodwinds
9:53
Brass
10:17
Percussion
10:35
Keyboards
10:57
Strings
11:04
Review
12:23
There Has Been Major Instrument Development
12:26
Dominant Instruments: Voice, Strings, Keyboards, Recorders
13:00
What Time Period Could This Example Be From?
14:03
Section 2: The Middle Ages
Chant

14m 36s

Intro
0:00
What is Chant?
0:13
Importance of the Catholic Church in Music History
0:40
Monophony
1:13
Examples of Chant
2:03
Chant Characteristics
3:40
Syllabic: One Note of Music for Each Syllable of Text
3:55
Neumatic: One Neume (Two of Three Notes) for Each Syllable of Text
4:17
Melismatic: Numberous Notes Occur for Each Syllable of Text
4:46
Classes of Chant
5:41
Antiphonal: Chants with Phrases Sung by Alternating Choirs
5:48
Responsorial: Chant Sung By Soloist with Response by Choir
6:20
Notation
6:39
Block Notation and Neumes
6:57
Rhythm is not a Primary Focus of Chant
8:16
Church Modes
8:49
Authentic vs. Plagal
9:00
Dorian Starts on D
9:21
Phrygian Starts on E, Lydian Starts on F, Mixolydian Starts on G
9:42
Hypodorian: Down Four, Starts On a Different Note
9:53
Hypophyrgian, Hypolydian, Hypomixolydian
10:53
Review
11:41
Monophony
11:47
Syllabic, Neumatic, Melismatic
12:04
Neume Notation, Block Notation
12:10
8 Church Modes (Authentic, Plagal)
12:28
What Are The 8 Church Modes?
12:53
What is the Difference Between Authentic and Plagal Modes?
13:38
Organum

15m 33s

Intro
0:00
What is Organum?
0:12
Polyphony: More Than One Voice at a Time
0:27
Musica Enchiriadis: 9th Century, Anonymous
1:25
Guido D'Arezzo
2:02
Musica Enchiriadis
2:22
First Known Attempt at Polyphony and Organum
2:30
Organum
3:06
Two Voices: Vox Principalis (Main Voice) and Vox Organalis (Organum, Second Voice)
3:15
Simple, Composite, and Parallel Organum
4:03
Guido
7:44
Micrologus, 1026
7:57
Guidonian Hand: Mnemonic Device for Singers to Read Pitches
8:10
Proto Staff: Four Staff Notation System, Precursor to Modern-Day Staff
8:48
Notre Dame School of Polyphony
9:25
Leonin and Perotin
9:42
Two Voice
10:20
Organum: Melismatic Voice Over Chant
10:30
Discant: Note Against Note, Rhythms by Mode
10:54
Copula: Transition Between Organum and Discant
11:35
Perotin
11:44
Substitute Clausula
12:11
Often present in Discant
12:41
Evolved into Stand Alone Pieces as Substitute Clausula Became Longer
13:00
Experimented with Different Languages and Used Rhythmic Modes
13:57
Motet
14:07
Review
14:20
Motet

16m 58s

Intro
0:00
Motet
0:07
Substitute Clausulae
0:16
Unique Composition
0:39
Components of a Motet
1:02
New Upper Voices
1:50
Prosula
1:58
Rhythmic Modes
2:22
Used in Discant
2:36
Different Combinations of Longs and Shorts
3:32
Mode 1
3:50
Mode 2
4:00
Mode 3
4:19
Mode 4
4:41
Mode 5
4:50
Mode 6
5:04
Notational Developments
5:25
Famous Rhythmic Developers
5:40
Different Combinations of Longs and Shorts
6:13
Longa, Breve, Semibreve, Minim
6:21
Perfect or Imperfect Prolation
6:31
Notation
6:50
Tempus, Prolation
6:56
Tempus Perfectum/Prolation Major
7:14
Breve
7:50
Semibreves
7:55
Minim
8:03
Breve is the Main Unit of Time
8:15
Tempus Perfectum/Prolation Minor
9:00
Tempus Imperfectum/Prolation Major
9:37
Tempus Imperfectum/Prolation Minor
10:14
Common Time Origin
11:05
Machaut and the Isorhythmic Motet
11:48
Isorhythmic Motet
12:09
Talea
12:30
Color
12:36
Review
13:42
Motet
13:56
Characteristics
14:07
Isorhythmic Motet
14:26
Which Rhythmic Mode Are These Examples?
14:44
Troubadours

12m 9s

Intro
0:00
What is a Troubadour?
0:25
The Singing Minstrel
0:30
Portrayed as a Jester or Joker in Pop Culture
1:13
Served A Major Role in Development of Polyphony Because They Traveled
1:27
Troubadours were Illiterate and Part of the Lower class
2:07
What is a Trouvere?
2:25
Poet and Musician from Northern France Who Wrote about Love, Heroism, and the Unattainable
2:34
Established Guilds, Brought Their Music to the Middle Class
3:24
Simple Forms, Simple Syllabic Melodies, Simple Instrumental Accompaniment
4:10
Formes Fixes
5:18
Three Main Forms: Rondeau, Ballade, Virelai
5:38
A (a) and B (b) Represent Repeated Musical Material
5:51
Capital Letters Represent Repeated Text
6:05
Lowercase Represent New Text
6:13
Virelai
7:00
Example
8:05
Instruments
9:09
Stringed Instruments: Lute, Lyre, Bagpipe, Viol
9:17
Were the First Solo Performers
9:30
Different Form of Polyphony Than Just Voices
9:58
They Traveled, Influencing Different Areas of Europe
10:07
Review
10:41
Important in Distributing Polyphonic Music Throughout Europe
10:49
Polyphony Existed in Churches, But Without Troubadours, Perhaps Polyphony Would Have Never Left the Church
11:10
Section 3: The Renaissance
The Mass

20m 34s

Intro
0:00
Let's Go to Church!
0:22
The Catholic Church is at the Center of Western Classical Music
0:30
Two Types of Masses: Mass Ordinary and Mass Proper
0:50
Let's Go to Church!
1:03
Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnes Dei
1:16
Mass in the Renaissance
2:38
Polyphonic Settings of Complete Mass Ordinary
2:51
Chant is Still There
3:09
Cantus Firmus: The Chant Line
3:27
Masses Organized around the Cantus Firmus
4:02
Other Voices Newly Composed
4:12
Recall Substitute Clausulae
4:24
Three Types of Cyclic Mass
4:44
Cantus Firmus Mass
5:02
Cants Firmus in the Tenor
5:13
Branched Out to Other Voices
5:52
Chant Melody Chopped, Sliced, Omitted
6:07
Leading Composers: Dufay, Machaut, Dunstable
6:48
Motto Mass
7:28
Start with Identical Motive at Beginning of Each Motive
7:47
Generally Homophonic
8:19
Leading Composers: Dufay, Ockeghem
9:17
Three Types of Cyclic Mass
9:45
Parody Mass Became Most Popular
9:53
More Freely Composed
10:06
Used Pre-existing Textures from Another Work
10:13
Freer Counterpoint and Imitation and Rhythmic Innovation
11:00
Imitation: One Voice Mimics Another
11:10
Ok, So What's Really Going On?
12:57
Composers Were Gaining More Freedom
13:04
How Math Played a Role in Innovation
13:30
Canons
13:35
Inversion
14:05
Retrograde
14:54
Diminution
15:32
Augmentation
16:31
Puzzle Canon
17:06
Musical Palindromes
17:30
Review, Some Important People and Terms
18:00
Early Mass: Machaut
18:18
Mid Mass: Dufay and Ockeghem
18:22
Late Mass: Josquin and Palestrina
18:28
Cantus Firmus: Chant Melody Line in Tenor
18:42
Imitation: One Voice Mimics Another
18:52
Canon: Melody with One or More Imitations
18:59
Each Generation of Renaissance Composer Created New Methods to Write Freer Masses
19:09
Three Main Types of Cyclic Masses: Cantus Firmus, Motto, Parody
19:36
The Madrigal

18m 51s

Intro
0:00
What in the World is a Madrigal?
0:08
Italian Song: Secular Polyphonic Vocal Composition for 2-8 Voices
0:45
Developed in 3 Stages Throughout the Renaissance
1:21
First Generation
1:38
Developed from Frotolla: Homophonic, Rustic, and Popular
1:44
Polyphonic Sections Alternate with Chordal, Homophonic Sections
2:42
Dissonant Harmonies Appear at Specific Moments in the Text
3:03
Primo Libro
4:15
Arcadelt 'Il bianco e dolce cigno'
4:30
Second Generation
5:55
Wider Use of Poetry and More Serious Texts
6:01
Experimental Harmonies
6:26
Vicentino Wrote a Big Treatise in 1555
6:54
Vicentino 'Laura, che 'l verde lauro'
7:42
Third Generation
9:28
Mannerist
9:30
Chose Emotionally Intense Texts to Depict Musically
9:51
Voice Crossings
10:29
Crazy Rhythms
11:00
Sudden Tempo Changes
11:10
Text Painting
11:30
More Third Generation
12:39
Required Skilled Singers and Sophisticated Audiences
12:52
Maurenzio 'Solo et pensoso'
14:00
Monteverdi (1567-1643)
15:11
Review
17:05
Madrigals
17:13
First Generation
17:21
Second Generation
17:30
Third Generation
17:36
Who is Known as the First Opera Composer?
17:55
What is Text Painting?
18:14
Instrumental Music

8m 17s

Intro
0:00
Wait…There Were Instruments Too?
0:12
Period Dominated by the Voice
0:25
La Familia Gabrieli
0:35
Andrea Gabrieli
0:46
Giovanni Gabrieli
0:57
Andrea Gabrieli
1:42
Madrigal Composer, Third Generation
1:45
Well-Known Church Organist
2:07
Madrigal Became Simpler, More Pastoral, and More Homophonic
2:30
Cori Spezzati: Divided Choir
2:50
Doubled Some Parts with Instruments
3:18
Instruments Then Became Second Choir, Written for Exclusively
3:31
Giovanni Gabrieli
3:44
Famous Organist and Composer
3:46
Sonata pian' e forte (1597): Groundbreaking, First Piece to Use Dynamics, First Piece Written for Just Instruments
4:21
Review
6:19
Instrumental Music Became Popular Towards the End of the Renaissance
6:22
Explosion of Instrumental Music in Baroque
6:40
Instruments were Always Around
6:51
Classic Composers Started to Write for Them in the Church
7:08
Gained Popularity Outside of the Working Class
7:30
Section 4: The Baroque Period
Opera

14m 5s

Intro
0:00
Hello Divas!
0:30
Intense Development of Opera
0:57
Started from Monody: Short, Staged Works
1:50
Speech Inspired Continuous Song
2:05
Continuo: Group Playing Bass Line or Basic Accompaniment
2:20
Recitative: Speechlike Reiteration of the Same Note
2:50
Used to Tell the Story to the Audience
3:34
Let's Go to Venice
3:49
Opera Became Popular in Venice (1640)
3:53
Opera Houses were Built, 350 Operas Composed in 40 Years
4:41
Characteristics
5:44
Arias: Diva Solo
5:54
Da Capo Aria: Aria with Three Sections
6:01
First: Presentation of Music for Voice and Orchestra
6:06
Second: Huge Contrast from First Section
6:16
Third: Repeat of the First Section with a Twist (Improvisation)
6:34
Intended to Show Off the Divas
7:04
Singing was Technical and Virtuosic
7:37
Opera in France
7:45
Lully Popularized Opera in France
8:07
Had Rights to Compose Operas from 1673-1687
8:33
French Operas were Much Different
9:23
Tragedie-Lyrique: Serious Texts
9:30
Not Public
9:41
More Dramatic
10:00
Always Contained an Instrumental Ballet
10:04
Opera Seria
10:12
Spread throughout Europe in the 1700s
10:23
Scarlatti
10:30
Italian Overture
10:39
Handel
10:52
Hasse
10:54
Characteristics of Opera Seria
11:34
Story Based on History or Legend
11:36
No Comedy
11:42
Focus on Virtuosic Singer
12:02
Recitative Furthers Plot
12:05
Aria is for Commentary and Showiness
12:19
Review
12:51
Started by Monody: Speech Inspired Song
13:08
Took Off in Venice
13:17
Opera Seria
13:40
Concerto

18m 50s

Intro
0:00
What is a Concerto Grosso? Is it Gross?
0:52
Definition Concerto Grosso
1:15
Concertino: Small Group of Solo Instruments
2:00
Ripieno: Orchestra
1:33
Important for Developing Instruments as Stand-Alone Musical Entity
2:04
Corelli, Torelli, Vivaldi, Handel, J.S. Bach
2:18
Let's Break it Down
2:43
Concertino: Solo Group of a Handful of Instruments (Normally Violins, Bass)
2:47
Ripieno: Full String Orchestra, Accompanimet
3:14
Soloists were Members of the Orchestra
3:28
Alternates Between Ripieno and Concertino Sections
3:41
Ripieno Sections Often Repeated
3:54
Example of Concerto Grosso: Corelli
4:24
Ripieno Concerto
5:49
No Hierarchy of Soloist and Accompaniment
6:03
Very Homophonic
6:32
Increased Use of Imitation, Counterpoint, and Canons
6:51
Example of Ripieno Concert: Brandenburg Concerto No. 3 by J.S. Bach
7:49
Solo Concerto
9:16
One Person is the Soloist
9:31
At First, Wasn't Popular
9:55
Soloist is the Star
10:16
Orchestra Serves to Backup the Star
10:21
Example of Solo Concerto: Four Seasons by Vivaldi
10:33
Vivaldi and Form
12:32
Became Known as the Concerto King of 1700s
12:43
Developed a Three Movement Structure
12:58
First Movement: Fast
13:39
Second Movement: Slow
13:48
Third Movement: Fast
13:54
Soloist: Violin, Flute, Trumpet, Harpsichord, Cello
14:29
Well-Known Opera Composer
14:57
Used Driving Rhythms
15:13
Used Sequences to Extend Phrases
15:25
Big Review
16:13
Concerto Launched
16:18
Concerto Grosso
16:30
Ripieno Concerto
16:44
Solo Concert
16:50
Concerto Grosso: Corelli Influenced by Gabrielli
16:58
Ripieno: Bach Influenced by Corelli
17:13
Solo: Vivaldi Influenced by Corelli and Opera
17:19
It's All Connected
17:37
What is a Sequence?
17:55
What is the Name of the Solo Group in a Concerto Grosso?
18:23
Solo Keyboard Works

19m 46s

Intro
0:00
Another Lesson NOT on the Voice!
0:18
Big Developments in Europe: Money, Courts, Entertainment
0:30
Flourish of Activity in Europe
1:28
Increased Trade Meant a Cultural Influence
1:49
Money Spent on Music Led to More Music
2:06
There Wasn't a New Opera Everyday
2:23
Concertos were Blooming, but Not Full Concerts
2:40
More Intimate Setting for a Soloist led to Solo Keyboard Works
2:57
Ready Stop…It's Sonata Time!
3:20
Why Do Most People Recognize the Term 'Sonata?'
3:33
Sonata is the Most Important Form Development in the History of Western Classical Music
3:47
Sonata is Both a Genre and a Form
4:00
Sonata Movement of a Symphony
4:25
Sonatas
4:48
Different Times
4:49
Sonata de Camera: Suite of Dances for Two Players and Continuo Performed in Private Concerts
4:58
Corelli
5:36
Sonata de Chiesa: Collection of Dances in Four Movement Form Used to Fill Space Between Mass Movements
5:40
Solo Sonata: Instrumental Piece in Several Movements Designed for a Soloist
6:17
Solo Sonata
6:51
Imitative Piece in Sections
6:55
Changes in Meter and Tempo
7:01
Recapitulatory Endings: Summary
7:08
Example of Solo Keyboard Sonata: Domenico Scarlatti
7:39
Binary Form
9:12
Ternary Form
10:23
Rounded Binary
11:09
YouTube Example of Binary Form
12:10
Why is This Important?
12:34
Meant a Tight-Knit Structural Form
12:41
Presented an Open-Ended Tight-Knit Form
13:15
Composer Freedom
13:50
Manipulate Musical Parameters, Most Notably Harmony
14:04
Large Scale Musical Unity
14:34
Sonata Diagram Time!
14:54
Exposition, Development, Recapitulation
16:00
Review
16:57
Solo Keyboard Works Important in Developing the Sonata
17:00
Tight-Knit Structure Dominated in a Formulaic Time
17:09
Binary, Ternary, Rounded Binary
17:28
Exposition, Development, Recapitulation
17:34
What Form is This?
17:45
Dance Forms

13m 33s

Intro
0:00
It's Time to Dance
0:29
Dance Works, Known as Suites
0:41
Importance of Dance Suites
0:54
Baroque Period was All About Organization
1:08
Suite: Allemande, Courante, Sarabande, Gigue
1:38
Back to Bach
2:06
Wrote Sonatas and Partitas for Solo Violin
2:19
Explored Counterpoint, Harmonic Movement, Rhythmic Motion, Form, Imitation, and Texture
2:40
Suites are Short Practice Canvases
3:27
Allemande
4:07
Moderate Tempo
4:10
Duple Meter
4:16
Polyphonic Texture
4:21
Prelude
4:24
Starts on Anacrusis, or Upbeat
4:35
Running Patterns
4:47
Example of Allemande: Sonata in B Minor
4:57
Courante
6:10
Binary Form
6:17
Triple Form
6:22
Quick
6:30
Homophonic Texture
6:33
Hemiolas (3:2)
6:42
Dotted Rhythms to Show Hopping Character of Dance
6:54
Example of Courante: Sonata in B Minor
7:04
Sarabande
7:55
Slow Tempo
8:03
Triple Meter
8:05
Commences on Down Beat
8:07
Originated from 16th Century Latin
8:15
Fast Version for Spain, England, and Italy
8:27
Slow Version for Germany and France
8:34
Example of Sarabande: Sonata in B Minor
8:41
Gigue
9:32
The Ending
9:40
Compound Duple or Triple Meter
9:44
Very Quick
9:49
Starts on 8th Note Upbeat
10:00
Binary Form
10:09
Triplets
10:10
Wide Melodic Leaps
10:11
Imitation
10:12
Slower Harmonic Rhythm: How Quickly the Harmonies Change
10:14
Example of Gigue: Sonata in B Minor
10:46
Review
11:44
Why Are the Dance Suite Movements Important?
11:46
Miniature Pieces Become Large, Long, and Extremely Detailed Works
12:04
Writing Out the Basic Plot for Binary Form
12:21
Which Dance Movements are in Two, and Which are in Three?
12:45
Section 5: The Classical Period
Opera

14m 29s

Intro
0:00
Yay, More Opera!
0:30
Opera Seria vs. Opera Buffa
0:46
Review of Opera Seria
0:55
Da Capo Aria
1:44
Recitative Furthered Plot
3:20
Where’s the Buffa?
3:43
Intermezzo: Between Acts
4:05
Characters from Commeda Dell'Arte: Italian Theater with Stock Characters
4:46
Where's the Buffa?
5:39
Emphasis on the Bass Voice
5:48
Unexpected Accents
6:16
Quick Tempos
6:17
Wide Leaps
6:19
Frequent Use of Vocal Ensemble
6:22
Example: Pergolesi's La Serva de Padrona (1733)
6:55
Became So Popular, The Intermezzo Toured On Its Own
7:59
Wolfgang Amadeus Mozart
8:22
Child Prodigy Gone Bad
8:35
Composed In All Forms and All Genres
9:21
Redefined Opera Buffa As Its Own Category
9:37
The Marriage of Figaro, The Magic Flute, Don Giovanni
9:48
Example: The Marriage of Figaro
10:00
Simpler Melodies
11:18
Formulaic Structures
11:36
Emphasis on the Connection of Voice and Text
11:38
Stories Never Stalled
11:57
Replaced Stock Characters with More Psychologically In-Depth Characters
12:12
Review
12:38
Development of Opera Continued Into Romantic Period
12:59
Rossini Took Over From Mozart (William Tell, Barber of Seville)
12:07
Audiences Liked Intermezzos More than the Opera Seria
13:42
Transformed into Opera Buffa
13:53
Symphony

14m 32s

Intro
0:00
The Symphony
0:08
Later Developing, 1700s
0:20
Italian Overture from Opera
0:26
Concerto Grosso, Solo Sonata
0:51
4 Movements
1:18
Tonally Connected
1:43
Classical Symphony: Haydn, Mozart, Beethoven
2:20
Symphony Four Movement Structure
3:34
Writing Out the Four Movements of a Symphony
3:46
First Movement
4:02
Second Movement
4:15
Third Movement
4:42
Fourth Movement
4:45
High Time for Some Haydn
5:48
Father of the Symphony, Wrote 104 Symphonies
6:02
High-Quality Pieces of Historical Significance
6:24
Used Moderately Sized Orchestra
6:47
Inserted Minuet and Trio as the Third Movement: Playful
7:04
Ludvig Van Beethoven
7:47
1770-1827
8:05
Tortured Genius
8:11
Both Classical and Romantic Composer, Launched the Romantic Era
8:42
Revolutionized Harmony by Obsessing Over Motives
9:09
New Era for Composition
10:10
First Freelancing Musician Who Sold His Scores
10:38
Took Composing to a New Level
11:14
Motives
11:19
Motives
11:22
A Seed
11:25
Beethoven Wrote What He Wanted
12:01
Piece Organized Around a Musical Idea, and the Piece Develops
12:09
Beethoven Expanded the Orchestra
12:34
Review
12:51
Symphony Came a Long Way in a Short Amount of Time
13:03
The Big Three: Haydn, Mozart, Beethoven
13:20
Haydn Backed Up to the Baroque
13:32
Mozart Was Solely Classical
13:35
Beethoven Backed Into the Romantic
13:37
Form Variation

15m 58s

Intro
0:00
Let's Review Form
0:27
Form is the Structure of the Piece
0:33
Form is the Organization
0:40
How to Get From A to B to C and So On
0:44
Classical Period Marked A Time for Form Variants
1:11
Classical Composers Start to Get Clever with Form
1:55
Sonata-Rondo
2:07
We Know About a Sonata
2:22
Rondo is ABA or ABACA or ABACADA
2:50
A is the Refrain, Other Letters are New Thematic Material
3:35
Sonata-Rondo: Exposition, Development, Recapitulation
3:56
Minuet and Trio
6:14
Minuet: Refers to the Original Dance
6:25
Trio: Refers to the Three Instruments That Accompany a Second Part of a Dance
6:48
Trio Became the Third Movement in a Symphony or String Quartet
7:20
Moderate Tempo in Triple Meter
7:52
Form: ABA, With B Being the Trio
8:16
Third Movement Often Least Complex
8:31
Theme and Variations
8:55
Initial Theme That Gets Varied
9:08
Originally Used to Improvise for audiences
10:08
How Are These Themes Varied?
10:37
Musical Parameters
10:44
Scherzo
11:12
Scherzo Means Joke
11:21
Scherzo Became Another Variation of the Third Movement
11:50
Faster Than a Minuet, In Three, In Ternary or Rounded Binary Form
12:09
Very Light and Playful
12:19
Why is This Important?
12:40
Composers Have Experimented with Parameters, But Not Form
12:55
Form is Steeped in Tradition, So It Changes Gradually
13:12
Changes in Form Give Composers More Freedom
13:59
Review
14:52
Many Different Formal Variations with Basic Plot
14:56
Sonata-Rondo, Theme and Variations, Minuet and Trio, Scherzo
15:07
More Composer Freedom
15:41
Expression, Emotion, Story
15:48
Concert/Solo Instrumental Works

14m 8s

Intro
0:00
Solo Concert
0:22
Similar to Baroque, But With More Development
0:28
More Instruments and More Variation, Unlike Baroque
1:03
Decline of Concerto Grosso
2:05
Haydn, Mozart, Beethoven
2:30
Very Similar to Styles of Symphony
2:45
Solo Works
2:58
Sonata in Every Instrument
3:00
Became the 'It' Form
3:22
Decline of the Dance Suite
3:30
Rise of Chamber Music
4:02
Chamber Music: Anything with More than One Performer (Duo, Trio, Quartet, Etc.)
4:10
So Why is Chamber Music Important?
4:43
Keep In Mind the Intense Musical Development From Polyphony
4:49
Larger-Scale Works
5:15
Smaller Works Allow for More Exploration of Tone, Timbre, Texture, and Orchestration
5:22
Rumored that Beethoven 5 Motive was Used in Other Works as a Tryout
6:27
Like Picasso Sketches
6:59
Examples
7:25
Mozart Quintet (5) for Clarinet and String Quartet
7:34
Combines String Quartet with Solo Writing
8:02
Haydn Trio for Flute, Cello, and Piano
8:31
Listen to Examples
10:04
Haydn: Sounds Like a Symphony
10:22
Beethoven: Sounds Like Experiments
10:55
Mozart: Seeks Performative Balance
11:14
Review
11:59
Concerto Continued in Its Development
12:03
Solo Writing Continued in Development
12:24
Chamber Music Slowly Took Off
12:36
Similar to the Need in Baroque for More Intimate Concert Settings
12:52
Gave Composers an Outlet for Experimenting
13:32
Section 6: The Romantic Period
Programmatic Music

18m 51s

Intro
0:00
They Call it Romantic for a Reason
0:29
Finally Getting Some Emotion
0:36
Programmatic Music: Narrative or Descriptive Content that Attempts to Represent Extra-Musical Concepts without Text
0:58
Uses Referential Elements or References to the World Outside of the Composition
1:16
Franz Liszt Coined the term, But It Originated with Beethoven
2:06
Beethoven's Pastoral Symphony Was an Expression of His Feelings
2:14
Music Governed by a Poetic Idea
2:48
So Why All of a Sudden?
2:57
Arts were Becoming Unified Across Europe
3:06
Particularly the Rise of the Narrative
3:38
Composers Found They Wanted to Tell Stories Through Music Without Text
3:46
Descriptive, Narrative, Evocative
3:57
Used Titles, Instruments, Imitation, Harmony, and Text Painting
4:23
Berlioz
6:37
Symphony Fantastique: 1830
7:04
Narrative Work Associated with a Text
7:10
Subtitled: An Episode in the Life of an Artist
7:15
Provided an Autobiographical Program at the Work's Premiere, Considering the text an Essential Part of the Work
7:38
Idee Fixe: Represented the Motive That Appears Throughout the Piece
8:05
Listening to Symphony Fantastique
9:02
Liszt and Wagner
11:38
Liszt Invented the Symphonic Poem: One-Movement Piece for a Symphony Orchestra
12:13
Wagner: Opera
12:40
Wagner Came Up With the Leitmotif
12:56
Leitmotif: Using Music Material to Represent People, Places, Events, Emotions, Etc.
13:09
Some Famous Leitmotifs Through the Ages
14:01
Think TV, Film, Advertising That Make You Think of Something
14:17
Review
17:13
Programmatic Music
17:15
Began to Dominate Classical Music and Still Does Today
17:25
Telling a Story Through Music Without Text
17:48
Very Emotional, Vivid, Imagery
17:52
Gave Composers Yet Another Outlet for Experimenting
17:57
Eventually Became a Battle Between Absolute and Program Music
18:08
Symphony

13m 47s

Intro
0:00
Que Romantica!
0:13
The Romantic Symphony Started Around Beethoven's 5th
0:18
Symphony Criticized for Lacking Emotion and Meaning
0:50
Opposite is True in Romantic
1:23
Instrumental Music Closer to Pure Emotion Because No Text
2:06
Every Composer Had to Compose a Symphony as a Rite of Passage
2:11
Symphony Characteristics
2:28
Stayed Remarkably Intact Into the 20th Century
2:39
3, 4, or 5 Movements
2:53
Movement 1: An Extended Opening Movement in Sonata Form
2:58
Movement 2: A Lyrical Slow Movement In Sonata Form, ABA, or Theme and Variations
3:05
Movement 3: A Dance-Inspired Scherzo Movement, Usually in Triple Meter
3:13
Movement 4: A Fast Finale
3:18
Beethoven's Heroic Decade
3:47
Heiligenstadt Testament: Letter to Brother
3:56
Beethoven Saw Art as Redemption
5:00
Then Came the 9th
5:18
Symphony 9 (1823): 'Ode to Joy'
5:28
Redefined the Symphony as More Than a Musical Entertainment
5:51
Curse of the 9th
6:46
First Symphony to Have a Chorus
6:53
Listening to 'Ode to Joy'
7:06
Completely Unified Themes Throughout Movements
7:37
Monumental Themes
7:47
Created a Crisis for Future Generations
8:06
First Time that New Composers were Competing with the Past
8:15
Romantic Composers
9:13
Mendelssohn Threw Away 3 Complete Symphonies
9:18
Schubert Got Sick and Died Writing His 9th
9:28
Brahms was Anti-Program, Reinvented In Other Ways
9:57
Berlioz First Real Competitor
10:19
Mahler Wrote a Symphony for 1000 People
10:34
Wagner said Beethoven's 9th was the Pinnacle
11:07
One Reason for Rise of Symphonic Poem
11:34
Review
11:52
Beethoven Ruled the Symphony
11:58
Beethoven's Symphonies are Still the Models Composers Aspire to Achieve
12:36
Innovative Harmonies, Monumental Orchestration, Grandiose Form, Fully-Unified Theme
12:41
Debate Loomed Between Absolute and Program Music
12:54
Enter the Symphonic Poem for Something Completely Different
13:14
Concerto

12m 36s

Intro
0:00
Solo Concerto
0:15
Started in the Baroque, Virtuosity is Back
0:33
Imagine a Concerto
0:58
Romantic Concerto
1:20
Begins with Beethoven
1:32
Attempt to Mimic the Symphony Sound by One Person
1:46
Very Difficult Pieces
2:10
Let’s Talk Liszt…Again
2:32
Known as Playboy Rock Star
2:41
His Importance is Vital for Performance Aspect of Western Classical Music
2:53
Solo Recital
4:18
Transcribed Symphonies for Solo Piano
4:32
Friends with Paganini and Saint Seans: Both Composers and Instrumental Virtuosos
4:58
Piano Concerto
5:42
Liszt Started It
5:48
Beethoven Wrote 5
6:01
Beethoven, Liszt, Brahms, Tchaikovsky, Grieg, Mendelssohn, Chopin
6:14
Beethoven is Not the Only Freelancing Musician Anymore
6:47
What Was Happening Musically?
7:11
Longer Forms with Combined Movements
7:20
Greater Emphasis on Rhythm
7:50
Texture to the Extreme
8:11
Still Have Romantic Melodies, More Attention to Harmonic Exploration
8:52
Develop a Greater Intensity
9:05
Example
9:20
Review
9:52
Virtuosity
10:01
Composers Who Performed Composed Concertos For Themselves
10:14
Increase in Need for Better Educated, Performing Musicians
10:54
Conservatories Became Bigger
10:59
Romantic Concerto Combined Elements of Symphony, Tone Poem, and Solo Works
11:48
Very Memorable Works That Are Still Standards
11:56
Lieder & Miniatures

16m 27s

Intro
0:00
What In The World Are These?!
0:40
Lieder = Songs or Song Cycles
0:44
Miniatures = Short, Self-Contained Works
1:06
Why Short Pieces?
1:28
Wagner's Opera Cycle, Mahler's Symphony, Concertos
1:36
We All Need a Mental Break
2:10
Opportunity for Short, More Experimental Pieces
2:14
Lieder
2:39
Songs or Song Cycles (Collection of Songs)
2:41
Sung in Operatic Style, But Not an Opera
3:05
Features Singers, But Not Divas
3:24
More of an Art Song
3:42
Always Had Piano Accompaniment
4:16
Very Challenging Works Mentally and Physically
4:19
Schubert
5:20
Franz Schubert (1797-1828)
5:25
A Romantic and Programmatic Composer
5:41
Wrote Over 600 Lieder
5:53
Song Cycles were Unified and Deceitfully Difficult
6:13
Musically
7:02
Difficulty Modulations
7:07
Strophic Forms Around Text
7:49
Sets Poems
7:54
Song Sections Alternated with Declamatory Song
7:57
Dramatic Text
8:31
Piano Centered On Text, Set Mood
8:36
Example
9:30
Piano Miniatures
10:01
Not Large Works
10:05
Often Shorter in Length, But Not in Scope
10:24
Schumann and Chopin as Examples
10:37
Very Programmatic and Nationalistic
10:40
Musically Experimental, Especially Harmony
11:38
Written by Virtuosos for Virtuosos
11:53
Extremely Difficult
11:59
Nocturne, Mazurka, Polonaise
12:04
Strong Forms, Hard Rhythms, Thick Textures
12:09
Why Important/Review
12:37
Example: Chopin
12:43
Lieder and Miniatures Were Essential for Experimental, Eventually Leading to 20th Century
14:23
Lieder: Simple in Some Ways, But Deeply Evocative and Expressionistic
14:43
Miniatures: Paved Way for Major Dissonance and Extreme Use of Musical Parameters
14:57
Symphonic Poem

11m 50s

Intro
0:00
What is a Symphonic Poem?
0:10
Term Coined by Franz Liszt
0:16
Programmatic Piece in One Movement, but for an Entire Symphony Orchestra
0:31
Who is Liszt?
0:55
The First Rock Star of Classical Music
1:33
Important Figure for Both Solo and Orchestral Works
1:44
Had to Perform to the Side Because He was Too Handsome
1:58
Why Symphonic Poems?
2:08
Remember the Composers Competing With Beethoven's Symphony Legacy?
2:16
Now They Didn't Have To
2:45
Russia
3:09
A Slew of Prominent Russian Composers Loved the Symphonic Poem: Tchaikowsky, Mussorgsky, Rimsky-Korsakov
3:20
Wrote Symphonic Poems Centered on Narrative (Highly National in its Context)
4:02
100% Romantic
5:10
Grandiose Themes, Tight Forms, Memorable Melodies, Fast and Driving Rhythms, Dense Textures, Lush Orchestration, Wide Dynamics
5:26
1812 Overture by Tchaikovsky
6:13
1812 is the Epitome of Grandiose (Festival Overture)
6:35
Has Acapella Choir, Brass Fanfare, Cannons, Ringing Chimes
6:47
Leitmotifs Representing Armies
7:35
Example: 1812 Overture
7:57
Review
10:40
Symphonic Poem, Tone Poem, Festive Overture was Dripping with Romanticism
10:47
Coined by Liszt
11:04
Contained Leitmotifs
11:09
Paralleled a Story, Text, Poem
11:12
Imagery, Nationalism, Pride
11:17
Became Popular Because It was not a Symphony
11:27
Section 7: The 20th Century
Impressionism & Expressionism

13m 55s

Intro
0:00
Impressionism
0:35
Known As An Art Movement (Monet)
0:50
Hazy, Looking Different Up Close As They Do Far Away
1:18
Attempted in Music Most Notably by Claude Debussy
1:31
Debussy: Wrote Every Style, Major Composer of 20th Century
1:50
Paris World Fair
2:25
Debussy
2:50
Both a Romantic and 20th Century Composer
2:54
Also Interested in Evening the Tonal Playing Field
3:07
Did It Through Unique Scales Influenced by Far East
3:25
Whole Tone, Pentatonic, Octatonic
3:34
Modes: Ionian, Dorian, Phyrigian, Lydian, Mixolydian, Aeolian, Locrian
4:58
What Does This Do? Obscures the Tonic, Makes It Hazy
6:00
Example
6:37
Expressionism
7:20
Really Heavy Stuff
7:31
Schoenberg, Berg (Wozzeck)
7:50
Example
8:05
Richard Strauss
8:52
Wagner Continued Tradition to Huge Romantic Levels
9:04
Strauss Took It and Ran Into Psychoanalytical Analysis
9:34
Salome and Elektra
9:43
Meant to Express the Subconscious
10:00
Major Dissonance
10:40
Salome Dances with the Head of John the Baptist Before She Gets Killed
10:58
Very Programmatic
11:22
Lush Orchestration, Timbres
11:27
Music to Make You Think, Feel and Express
11:32
Example: Final Scene of Salome
11:42
Review
12:20
Many Different -isms
12:29
Impressionism and Expressionism Paralleled Art Movements of the Time
12:47
Debussy: Impressionism through Blurring Lines of Tonality
13:03
Expressionism: Extra Attention to Text and Desire to Look Within Self
13:20
Sets Scene for Second Viennese School and Serialism
13:33
Serialism

17m 37s

Intro
0:00
Oh Boy, Here We Go!
0:10
Don't Let Serialism Intimidate You
0:22
End of the 19th Century = Opera Experimentation
0:58
Wagner Pushed Into Extreme Tonality and Harmonic Shifts
1:25
Debussy Started with Impressionism and Used Different Scale Sets
2:00
Schoenberg and Others Delved into Expressionism
2:16
Arnold Schoenberg (1874-1951)
2:21
Pivotal Figure to Say the Least
2:43
Also Known as Philosopher and Writer
3:00
Romantic Composer Who Liked to Experiment
3:37
Austrian Composer/Theorist
3:42
Moved to California in 1931 to UCLA
3:53
Extreme Figure in Music History
4:07
Emancipated Dissonance
4:32
Emancipation of Dissonance
4:44
Misleading topic
4:48
Serialism and Atonality Not the Same Thing
5:02
Serialism is Twelve-Tone
5:18
Atonality Has No Tonal Center
5:25
Started with Motives to the Extreme
5:51
Started with Trichords (3-Notes) and Hexachords (6-Notes)
6:02
Experimented with Free Atonality and Landed in Serialism
6:44
Example of Free Atonality
6:51
12 Tone Row
7:20
12-Tone Row
7:30
12 Notes in Chromatic Scale
7:34
System of Ordering so that a Note is Not Repeated Until Each Note has been Heard Once
7:52
Creates Equal System of Note Hierarchy
9:01
No Leading Tone
9:18
Absence of Leading Tone Presents the Option of No Tonality
9:21
Gives Composer Complete Control
10:14
Result: Mathematical Stuff That Can Be Hard to Hear
11:06
Second Viennese School
11:21
Schoenberg: Leader of Second Viennese School
11:23
Other Members of the Big 3: Berg, Webern
11:35
Berg: More Lyrical; Webern: More Pointillistic
12:00
Schoenberg: More of a Theorist/Philosopher
13:36
Example: Pierrot Lunaire
12:30
Why Important/Review
14:38
12-Tone Music Dominated Music for Most of 20th Century
14:46
Only Recently Known as Compositional Tool Rather than a Style
15:06
Schoenberg Came Up with the Idea of Flattening the Tonal Playing Field
15:39
Each Note is the Same As Another in 12-Tone Music
15:44
Extreme Way of Compositional Control Taken Further by Other Composers
15:55
Harsh Reactions from Audiences and Composers
16:30
Primitivism

19m 56s

Intro
0:00
What?!
0:08
The Rite of Spring by Igor Stravinsky
0:32
Possibly the Most Important Singular Work in Western Music History
1:11
Igor Stravinsky (1882-1961)
1:49
Russian Composer, Lived in Paris, Moved to U.S.
1:57
Wrote Everything
2:40
Launched to Fame in Paris with Three Ballets: Firebird (1910), Petrushka (1911), Rite of Spring (1913)
3:06
Rite of Spring (1913)
3:43
Stravinsky Emancipated Rhythm
4:23
Rite of Spring is a Ballet by Diaghilev and Najinsky
4:43
Complex Rhythms, Crazy Meters, Timbres, and Dissonance
5:48
Polytonality and Polyrhythms
5:57
Primitive Aspect of Ballet and Story
6:44
Historical Rites, Sacrifices, and Fertility
6:57
Rite of Spring
7:44
Premiered in 1913 and the Audience Rioted
7:55
Example: Rite of Spring
9:40
Melody
10:36
Melody: Bassoon
13:29
Harmony: Polytonality
13:38
Form: A Ballet in Two Parts
13:46
Tone: Harsh, Instrumental Extremes
13:55
Meter: Mixed Meter
14:21
Dynamics: Wide and Varied
14:45
Texture: Quick Changes
14:52
Rhythm!
15:12
Polyrhythms (3:2, 4:3, etc.)
15:20
Duplets, Triplets, Quintuplets, Sextuplets, etc.
16:03
Why Important/Review
17:09
Launched the 20th Century as Age of Exploration
17:36
Blew the Lid Off Rhythm and Meter Development
17:44
Orchestration was Off the Hook
18:08
Still One of the Most Recorded and Performed Works
18:18
Audience Rioted
18:56
Has Influenced Scores of Composers and Artists
19:05
One of the Most Written-About Works
19:15
Dixieland, Blues, Jazz

18m 43s

Intro
0:00
Now for Something Completely Different!
1:01
Dixieland to Blues to Jazz to Rock
1:15
All Linked Through Post-Civil War America and Chicago World Fair 1893
2:05
The Fair Changed Everything
2:34
Civil War Lesson on Geography
3:03
We Know About This Time Period in American History, but Maybe Not in Music
5:22
Dixieland
5:39
Slave Spirituals, Musical Accompaniment, and Entertainment
5:40
Dixieland from South (New Orleans), Down the Mississippi
5:45
Louis Armstrong
5:50
Musically: Bass Line, Hopping Harmony, Soloist (Trumpet Plays Main Line), Rhythm Section that Improvises
6:33
Polyphonic Setting Around a Theme and Variations
7:11
Example 1
7:30
Example 2: Oh When the Saints
8:22
Blues
8:48
Another Style from the Turn of the Century
8:50
Very Influential for Rock 'n' Roll
8:55
Each Style in the South had Unique Style and Sound
9:28
Centered on Form: 12 Bar Blues
9:53
Simple Form, Simple Instrumentation, Heavy Backbeat
11:09
Lyrics Were Very Important, About Real Life
11:32
Also Used Blues Scale: C, E Flat, F, F#, G, B Flat, C
11:40
Jazz
12:53
Encompasses So Much Music
13:00
Jazz Band
13:07
Instrumentation from Big Band to Combo
13:11
Horns, Rhythm Section
13:20
Musically: Blues Notes, Polyphony, Improvisation, Syncopation, Swung Note
13:33
Important People
15:02
Duke Ellington, Art Blakey, Charlie Parker, Miles Davis, Ornette Coleman, etc.
15:08
Example
15:47
Why Is This Important? Pop Culture!
16:05
Jazz Influenced Everything from Classical, TV, Film, and Rock
16:11
More/Review
16:40
Dixieland, Blues, Jazz Came from the South
16:44
Origins in Slave Spirituals Used During Work and for Entertainment
16:47
Came to Chicago During the World Fair
16:55
Spread Through the South and Eventually North Through Jazz Bands
17:21
Big Band Culture and Fever Swept the North in 20s and 30s, Setting Stage for Pop Culture Influence
17:29
Post-War Influence: A Need for Far-Reaching Music to The Masses
18:17
Enter Rock 'n' Roll
18:28
Later 20th Century

15m 6s

Intro
0:00
Wait…There's Still Classical Music!
0:36
Classical Music Continues
0:46
John Cage and Aleatory
2:00
Chance Music
2:13
Based on I-Ching
2:25
4'33''
3:25
Restructuring the Ear: Hearing Things in Different Ways
3:34
Steve Reich and Minimalism
4:35
System of Repeated Cells with Change Over Time
4:42
Example: Clapping Music
5:51
Rock
6:58
Rock 'n' Roll: Product of Times
7:01
History is Important in Development
7:13
Post-WWII America and Britain
7:16
Rise of the Middle Class
7:31
Rock Was For the Masses
7:50
Not Necessarily Anti-Establishment (Beatles)
8:33
Song-Writing Changed to Fit the Needs of Pop Culture
9:09
Shorter Songs, Easy Melodies, Digestible Harmonies, Simple Rhythms, Relatable Subject Matter
9:14
Cage and Reich Influenced Rock
10:08
John Cage Met Yoko Ono
10:20
Ono Married John Lennon
10:26
Cage and Lennon Were Friends
10:31
Reich Worked with Andy Warhol
10:55
Andy Warhol was Friends with David Bowie, Phillip Glass, the Ramones, Talking Heads, DJ Dangermouse
10:58
Cage and Reich were Influenced by Stravinsky
11:40
Stravinsky was Influenced by Beethoven, Beethoven by Mozart…All the Way Back!
11:53
That's Funny!
12:11
Artists of Today Influenced by Artists of Yesterday
12:17
More Communication Between Cultures
12:34
Ability to Write in Any Style From Any Time Period
12:38
New Genres? New Time Periods? What's to Come?
12:39
We're Still Just Experimenting with Organized Sound
13:51
Wrap Up
14:16
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Symphony

  • Beethoven brought the symphony to dizzying new heights
  • Symphony No. 9 thought to be pinnacle of symphony writing
  • Includes a choir, new harmonies, rhythms, forms, and programmatic themes
  • Mahler then wrote a Symphony for 1000, and Berlioz wrote a 5-movement work (Symphony Fantastique) to try to rival Beethoven
  • Curse of the 9th!!
  • http://www.youtube.com/watch?v=azLU9A7dgaw

Symphony

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  1. Intro
    • Que Romantica!
    • Symphony Characteristics
    • Symphony 9 (1823): 'Ode to Joy'
    • Romantic Composers
    • Review
    • Intro 0:00
    • Que Romantica! 0:13
      • The Romantic Symphony Started Around Beethoven's 5th
      • Symphony Criticized for Lacking Emotion and Meaning
      • Opposite is True in Romantic
      • Instrumental Music Closer to Pure Emotion Because No Text
      • Every Composer Had to Compose a Symphony as a Rite of Passage
    • Symphony Characteristics 2:28
      • Stayed Remarkably Intact Into the 20th Century
      • 3, 4, or 5 Movements
      • Movement 1: An Extended Opening Movement in Sonata Form
      • Movement 2: A Lyrical Slow Movement In Sonata Form, ABA, or Theme and Variations
      • Movement 3: A Dance-Inspired Scherzo Movement, Usually in Triple Meter
      • Movement 4: A Fast Finale
      • Beethoven's Heroic Decade
      • Heiligenstadt Testament: Letter to Brother
      • Beethoven Saw Art as Redemption
      • Then Came the 9th
    • Symphony 9 (1823): 'Ode to Joy' 5:28
      • Redefined the Symphony as More Than a Musical Entertainment
      • Curse of the 9th
      • First Symphony to Have a Chorus
      • Listening to 'Ode to Joy'
      • Completely Unified Themes Throughout Movements
      • Monumental Themes
      • Created a Crisis for Future Generations
      • First Time that New Composers were Competing with the Past
    • Romantic Composers 9:13
      • Mendelssohn Threw Away 3 Complete Symphonies
      • Schubert Got Sick and Died Writing His 9th
      • Brahms was Anti-Program, Reinvented In Other Ways
      • Berlioz First Real Competitor
      • Mahler Wrote a Symphony for 1000 People
      • Wagner said Beethoven's 9th was the Pinnacle
      • One Reason for Rise of Symphonic Poem
    • Review 11:52
      • Beethoven Ruled the Symphony
      • Beethoven's Symphonies are Still the Models Composers Aspire to Achieve
      • Innovative Harmonies, Monumental Orchestration, Grandiose Form, Fully-Unified Theme
      • Debate Loomed Between Absolute and Program Music
      • Enter the Symphonic Poem for Something Completely Different
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